LV MUSIC: Willie Nelson at Penn's Peak: 10 small things that made the show

October 31, 2011|By John J. Moser, Of The Morning Call

Anyone who goes to a concert by country music icon Willie Nelson expecting a grand show is bound to be disappointed. Because with Willie, the wonder is in the small things.

And there were many such small (and not so small) wonders in Nelson's show Sunday at Penn's Peak near Jim Thorpe.

Here are 10:

He played a lot of songs: In a 90-minute show, Nelson strung together 30 songs, including two instrumentals. He tied them tightly – often moving from one song into the next, and spoke little between – introducing his sister Bobbie on piano after her instrumental "Down Yonder" and the other band members after six songs was the first time he addressed the crowd – and his only extended talking.

He played a lot of hits: A likely reason Nelson runs through songs so succinctly in concert is that he has so many hits – 18 No. 1's alone. He played a good selection of his best songs: "Blue Eyes Crying in the Rain," "On the Road Again" (with the crowd clapping to the beat) and "Georgia on My Mind," on which Mickey Raphael's soft and sentimental harmonica solo got a big cheer. Which brings us to:

He had a crack band: Raphael was a standout, with his harmonica sounding like a whistle on a shuffling "Shoeshine Man" and an accordion on a wonderful "Help Me Make It Through the Night." The rest of the band – just Bobbie on piano, a bass and simple drums played mostly with brushes -- was great, too. And so was Nelson's guitar:

He played all his own leads: Nelson's guitar playing is underrated. His band didn't include another guitarist; he played all his own leads, and very impressively, taking his first solo on the second song, "Still Moving to Me," which he played after his traditional opening of "Whiskey River." He played a bluesy riff on "Nightlife." He tapped into a sentimental strain (again with Raphael's harp) on "Angels Flying Too Close to the Ground." But his best was on "Bloody Mary Morning." As the song trailed to near quiet, Nelson blasted out an extended, complicated strum with the drums gentle chugging in the background. It got big whoops from the crowd. Which leads us to:

He had the audience: Nelson gave Penn's Peak's sold-out crowd precisely the touches they sought. On the gently shuffling "Me and Paul," they rowdily hooted at the line "Almost busted in Laredo for reasons that I'd rather not disclose." They clapped and sang on "Good Hearted Woman" after he cupped his hand to his ear to encourage them. And they even cheered when he took off his black cowboy hat and put on a red headband.

He sang well: Nelson's twang isn't for everyone, and he didn't sing every song with overwhelming passion. But he was very good on a good number. On "Crazy," he sang that title word in a deep voice and reached on the chorus. He growled on a very good "Me and Bobby McGee." He did the same on "Mammas, Don't Let Your Babies Grow Up to Be Cowboys," chewing out "Mamas" on every line and letting the audience respond with the rest. But his best was on "Always on My Mind," sung wistful and sentimental on a darkened stage, with Raphael's wonderful harmonica sounding like an organ.

He sang Hank: Among the small pleasures was a three-song medley he introduced with a simple "How about some Hank Williams?" All were standouts: "Jambalaya (On the Bayou)," "Hey Good Lookin'" and "Move It On Over," on which he sang with more emphasis, and the crowd sang back.

He closed strong: After a rousing "Will the Circle Be Unbroken/I'll Fly Away," with the crowd clapping along as if it was tent revival. Nelson the introduced "a brand new gospel song I want to debut for you tonight." It was "Roll Me Up and Smoke Me When I Die," a delightful double entendre nod to his affinity for the herb. The crowd finally got fully rowdy, giving Nelson his biggest cheer, and he threw he bandana to them.

He had a great encore: After a standing ovation, he returned for a wonderful true gospel closing with "I Saw the Light."

And he stayed behind: Then he remained on stage for nearly 10 minutes, signing autographs on guitars, albums and shirts as his band played – very well – in the background.